I remember seeing a needlepoint done by someone else that I had stitched. It was a Lillian Chemor canvas of a Faberge-style egg. This one, pictured above, is typical of her designs with tons of detail and many colors.
Although the stitching was lovely, I found the finished canvas to be “stale, flat, and unprofitable.” In other words it was boring. The multitude of different threads used just couldn’t overcome the flattening effect that Tent Stitch gave to the piece.
My canvas, although unfinished and with much less beautiful technique, looked better and more energetic. The effect this piece had on me was so great that ever since I have worked hard to keep my needlepoint from being boring.
The Flattening Effect
Why is it that a needlepoint stitched in all one stitch can look flat when the exact same design done as a drawing does not look flat. In drawings we happily accept the fiction that there is dimension and that the 2-D surface of the drawing is really representing something 3-D.
Sometimes we can accept this in needlepoint, but often we cannot because what was obvious in the drawing loses apparent dimension in needlepoint. This happens because needlepoint is not really a two-dimensional medium. Think about a paint chip. It’s perfectly smooth, a simple plane. A piece of paper is the same thing. When we draw we add things to that plane but they are still flat drawings on a flat plane.
In needlepoint you have something different, although we pretend it is flat. Every single needlepoint stitch is one 3-D object. Look at a patch of Tent Stitch. Is it perfectly smooth, flat, and unbroken like the paint chip? No it isn’t. Each stitch is defined with edges that drop off and a beginning and an end. And there are lots of them, each of them distinct.
That texture of the stitch can trump almost every other consideration. It’s puts everything, even things that are supposed to convey dimension, on a single highly textured plane. The texture of the plane is so strong that it can even overwhelm different thread textures.
The result is a flat boring needlepoint.
The Solution- Push
My best solution to this problem is to change the texture by using different stitches. Even small stitches, such as variations of Tent Stitch that either catch the light differently (Dotted Swiss), or create different stitch heights (Diana), or lengthen stitches (Oblique Continental) work. Each one of these stitches creates a different texture than Tent Stitch and adds depth to your stitching.
It’s a big part of my philosophy to push the elements of needlepoint just a little bit. The key to creating great small pieces is to push the bounds of each part of your stitching. This is important to do in small pieces because the canvas itself is giving you only small stuff to work with. As you consider ways to push the canvas and answer these questions be sure that whatever you do keeps the focus where you want it to be.
Ask yourself:
- Can I add an embellishment here? The unstitched texture will add variety.
- Can I use couching or whipped stitches to create a texture that doesn’t look stitched?
- Can I use knots, Cross Stitch, or padding to elevate parts of the needlepoint?
- Can I use a Tent Stitch variation in this space? Even though the difference might be slight, your brain will register it.
- Are the threads I picked too similar? Try to get variety in their texture.
- Have I married threads with stitches so that the threads that will show off stitches best get the more decorative stitches?
- Have I picked a focal point or points and put the most attractive threads and stitching there?
- Have I thought about where this piece will live and picked appropriate threads and stitches? For example, a Christmas ornament can have many more sparkly threads than an accessory for your purse.
Not every one of these questions will apply to every canvas and some canvases will work best in all Tent. However it’s worthwhile to consider these things to keep your needlepoint from looking boring.
About Janet M Perry
Janet Perry is the Internet's leading authority on needlepoint. She designs, teaches and writes, getting raves from her fans for her innovative techniques, extensive knowledge and generous teaching style. A leading writer of stitch guides, she blogs here and lives on an island in the northeast corner of the SF Bay with her family
Lynn R. says
Janet, I object to your portrayal of tent stitched canvases as boring. To me, tent stitch is classic needlepoint, which has been done for centuries to good effect. Certainly, there are times when a varied stitch can enhance the design but there is also the pitfall of using so many different stitches that the design becomes lost in the messiness of the stitches. To fail to honor classic needlepoint is to do the entire stitching world a huge disservice. By all means, if you want to use varied stitches, go for it. But don’t feed the myth that classic tent stitch is somehow “less than” other stitches. I believe that any work that you pour your time and love into is beautiful and worthy of praise regardless of your stitching.
Janet M Perry says
I think you misunderstand me. I find the current fascination with so many stitches unhappy as well. Nor do I find every piece of entirely Tent Stitch to have this problem. In both cases what is missing is balance. A great piece of needlepoint has balance between color, threads, and stitches so that it looks good.
The problem with the boring needlepoint is that it has used too few stitches, bringing it out of balance, and it has not taken into account the 3-D nature of the needlepoint stitch.
The problem with the canvas that has too many stitches is that it is out of balance as well and ends up looking chaotic.
While I do honor the work that goes into all needlepoint, there are still things we can all learn to make our needlepoint better. Avoiding boring needlepoint is one of those things.
Keep stitching,
Janet
Janet M Perry says
I have found markers safe for fabric in many places. Most of these markers I’ve found at big box craft stores.
The Pigma Microns (extra fine point sizes). I’ve found at art supply stores and quilt shops. The Copic markers I’ve found at art supply stores and on Amazon.
FabricMate and the Deco fabric markers I’ve found at fabric stores.
Many of these markers, plus others that should work but which I have not tested can be found at Dharma Trading Company.
When you look for markers look for ones that are listed as either safe for fabrics or permanent, non-xylene or alcohol-based markers. If you do this check them first.
Keep stitching,
Janet